A Videogame Music Survey.

I saw this at another forum (Gamingforce forums) and I figured that it'd make for good discussion, considering how many game music fans we have around here. I've always been interested in hearing other peoples' opinions on game music, and I hope that you guys can answer a few queries for me.

1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?

2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it?

3. Do you listen to music from games you haven't played?

4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so?

5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced?

6. Which genres/styles do you mainly listen to? Which do you avoid?

7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why?

8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming?

9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material?

10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays?

11. Most gamers don't particularly care about game music (or at least, to the extent many of us do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this?

12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is still a creative process. Do you see a problem in this?

13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how?

14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to say this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptive music system, playing an ambient (see "usually unmelodious") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this?

15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a stand-alone listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game?

16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place?

17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa?

18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter?

19. If you had to sum up in three words what you expect from VGM, which would you choose?

I'm aware that each of these questions could likely have generated a entire discussion on their own and that presenting them together in a single thread will make it a bit difficult to discuss as a whole. However, I believe they are part of the same debate and will all add something to the subject. If you prefer answering a few at a time or skipping any, no problem. I'll be giving my opinion on them myself later.

Since Electi asked me really nice to get the ball rolling, I'll answer just the first question now before I go to bed:

If you had to describe what VGM is to someone ignorant on the subject, what would you say?

Probably the closest thing to video game music that the general public would be familiar with is advertising jingles. They have quite a few aspects in common. They are music produced for commercial rather than artistic reasons, they are intended to arouse a particular emotion that the producer wants associated with an event and they are intended to be listened to a large number of times. Although there are two key differences with advertising jingles. Firstly, Video Game Music is often subject to strict technical limitations which vary depending on the hardware they run on. Secondly, this music is typically intended to be played on a constant loop without getting irritating, so it has to be extremely "catchy". It is this particular quality which causes some players of video games to become so fond of music from their soundtrack, even though they would have already heard these songs repeated many times during the course of playing the game.

Ohhh, gamemusics. :3

• Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it?
  • Usually because the tune in question draws pleasant memories of the game itself, and also as background noise as I'm working or out biking to/from work. Occasionally as a simple reason to RAWK OUT.

• Do you listen to music from games you haven't played?
  • Rarely, though it happens, usually with memetic songs like "One Winged Angel" or "U.N. Owen was Her?"

• What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so?
  • Ahhhh, mmm, like about 80%? Outside of VGM I mostly like animated soundtracks, metal, and rock and roll - especially the older stuff. I used to listen to more mainstream stuff before You Tube cracked down on fanvidders using it. The radio is tuned to a classic rock station that is for waking me up in the morning, but that's it.

• How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced?
  • If there's an official album, I do my best to buy it new. If there's not, or if it's a super-rare collector's item, I may use other means.

• How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material?
  • I really like chiptune bleepbloops. They have a unique sound that appeals to my reptile brain. I also like newer stuff, especially when it has a good beat to it, though orchestral classical-sounding stuff is awesome, too.

• Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is still a creative process. Do you see a problem in this?
  • Ehhh, one of my favourite film soundtracks is from Spirit Stallion Of The Cimarron, and that's a Pop-Star Composer if ever there was one, so if a game can carry it it's cool.

• Certain producers and composers believe that the perfect music should not be noticeable unless it's not there.
  • I disagree. This is true of control schemes, not VGM. If I recall right, the original Metroid was supposed to be like this, and yet, look how many awesome original tunes came from that game and the rest of the series.

• VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter?
  • iTunes. That's how I got the A Boy And His Blob soundtrack. Also maybe make a deal with major retailers to actually sell the things, geez.

1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?

VGM stands for Video Game Music. To put it simply, it's the tunes you hear when you play a game.

2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it?

Frankly, it sticks in my head a lot more than modern music does. I just find it much more enjoyable to walk along with music designed to play when you walk around a world map than I do to a guitar playing. Usually, the music I listen to pretty fast-paced, so it gets me moving faster. The main thing I like about VGM is that I find it captures a feeling a lot more than most music I've heard. Granted, there's a lot of music out there, but none of the mainstream I've heard triggers the same emotions that Ventus' theme does.

3. Do you listen to music from games you haven't played?

Yeah. Hell, sometimes it's the music that convinces me to try out a game.

4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so?

At least 3/4ths of my regular playlists are made up of Video Game OS Ts. I've got around 851 sounds on my iPod, and I know, 3 months ago, at least 650 of those were from OS Ts. Now it's closer to 750.

5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced?

When they haven't been officially published, I usually use Youtube or just find somewhere to download them, often Megaupload or Rapidshare. My net is pretty good, so I can usually locate and download them nice and fast.

6. Which genres/styles do you mainly listen to? Which do you avoid?

I wasn't aware there were genres or styles. I do tend to prefer fast-paced music, and orchestral soundtracks are definitely up there with my favourites. I usually avoid Metal. I don't really like Metal, in all of its forms.

7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why?

Don't mind rock or techno, and since those are often in VG Ms, yes, I do.

8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming?

Yes on all points.

9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material?

Both are great in their own points. On the one hand, modern VGM can be wonderfully atmospheric and incredibly beautiful to listen to. On the other, the old chiptune composers had much, much less to work with that what we get today and they still brought out some great pieces. I do prefer modern VGM, but there's plenty of chiptunes that I love as well.

10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays?

Yeah, heck, if you gave me a piece of VGM and a regular piece of music, I could probably tell which was which. I feel that they're still unique. As I've mentioned earlier, they tend to be more atmospheric.

11. Most gamers don't particularly care about game music (or at least, to the extent many of us do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this?

I think that games should focus on having their own OS Ts. I recall that Halo 2 plays a Breaking Benjamin song somewhere whilst you're on High Charity (I think the level Gravemind), and I also recall how out of place it felt to have 'THEY FAHL IN LIHN WUN AT AH TIHM' and rather heavy guitars playing whilst I was attempting to run the hell away from a charging Brute. Since game OS Ts tend to be tailored to the game they're played in, we come back to that wonderful word: atmosphere. Hell, even if we took a mainstream song and remix it to something more fitting of the game's overall tone we could get a fairly good effect. I've heard good things (and bad, and to my ears it does honestly sound...bad) about Bayonetta's remix of Fly Me to the Moon, for example.

12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is still a creative process. Do you see a problem in this?

Nope. Not all VG Ms need to be completely unique. As long as they fit the tone of the game, I'm fine with it. The problem with mainstream is that a lot of it is just that: mainstream. It doesn't fit with the tone of most games.

13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how?

As long as there's a good amount of gameplay to go with those cutscenes, I'm fine with it. The last thing we need is another MGS 4 (9 hours of cutscenes, and experienced gamers can blow through the actual gameplay of each in less than an hour) which had some stellar gameplay but was bogged down by so many cutscenes that it felt more like a movie. But as for the actual OS Ts, I'd much rather we keep them a seperate entity to Film OS Ts.

14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to say this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptive music system, playing an ambient (see "usually unmelodious") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this?

Well, yeah. The themes that play in the background whilst you wander about a Final Fantasy game (or, at least, a good one) don't really fit with the paces of everyday life. I agree with everything above. VGM should work quietly in the background to enhance and improve the experience, rather than blare out "HEY! EVERYONE! ISN'T THIS MUSIC FRAKKING AWESOME!?".

15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a stand-alone listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game?

I don't have an answer for these questions. Sorry.

16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place?

Of all of the VGM I've listened to, I've never really had a feeling of music sounding the same. The only thing I can think of is Oblivion and Fallout 3's ambient world exploration music being similar enough that you could probably take Fallout 3's and stick it straight into Oblivion without noticing a difference. I just think VGM should fit the games it's made for. If games become basically the same, then VGM will most likely follow.

17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa?

Japanese music tends to be a lot faster paced, and European music tends to have more in the way of fantasy and chanting, but other than that I don't really get much of a sense of difference.

18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter?

I'm not quite sure what you're asking. But if you're talking about album releases, it probably has something to do with the people that care just downloading them, and most record companies realise that VGM sales wouldn't turn that much of a profit compared to mainstream. I can't really see sales and popularity getting better unless record companies start to think that it would be worth it.

19. If you had to sum up in three words what you expect from VGM, which would you choose?

Better be atmospheric.

Heh. This is something that I wouldn't expect from Electivirus, yet at the same time something he'd do. Odd. At any rate, here goes.

Also, I feel like now would be a good time to say this. Your avatar. I've seen it before. I can't stop staring at it. It bugs me.

Anyway. Survey. Right.

1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?

Video Game music is, quite obviously, music from a video game. However, it is often more than that. It usually contains no lyrics, and can be any genre. It is very atmospheric and quite good at evoking certain emotions.

2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it?

For one thing, I get exposure to VGM quite a bit. So if there's a song I like, I'll go acquire it through Perfectly Legal Means. But I also like how VGM is almost all instrumental. I find that vocals often get in the way of a great song. VGM is also quite atmospheric, and can invoke fond memories of the game (assuming I've played it before). Other than that, it's very hard to pin down what I like or dislike because VGM is so varied.

3. Do you listen to music from games you haven't played?

Well of course! If the music is good, does it matter if I've played the game or not?

4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so?

Hmm. Probably around 70%. Other than VGM, I rather enjoy 80s music.

5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced?

Well. I tend to acquire most of my VGM through Perfectly Legal Means. I'd much rather listen to a Gamerip than an album. For one thing, albums tend to contain less tracks than a gamerip, for whatever reason.

6. Which genres/styles do you mainly listen to? Which do you avoid?

Hmm. I like orchestra, techno, rock, jazz, etc. The only style I really dislike is rap. And even then I'll listen to a rap song now and then if it's good enough.

7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why?

Well yeah. It doesn't really make a difference to me. If it's good, it's good.

8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming?

Yes, yes, fuck yes.

9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material?

I absolutely love chiptunes! They go a long way in creating that retro feel. Like, you know the soundtrack for Cave Story? It's just amazing! And yet, I find the modern stuff to be rather hit and miss. For every song that's fantastic, there's 2 more that are decidedly meh.

10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays?

Nah. VGM should sound like whatever is appropriate for the scene at hand. A retraux game should have chiptunes, and a modern game should have...whatever fits.

11. Most gamers don't particularly care about game music (or at least, to the extent many of us do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this?

Fuck you, producers. I would much rather have original soundtracks! Though I suppose it can work out alright. The World Ends With You did fine with its music.

12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is still a creative process. Do you see a problem in this?

I guess that works. I'd rather they just give the composer free reign to create what he wants. Obviously they'd give him some direction, and veto what they don't like, but still.

13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how?

Yeah, that works. A game is basically an interactive movie. Orchestral music is usually pretty nice.

14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to say this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptive music system, playing an ambient (see "usually unmelodious") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this?

I'm glad not every game does this, but this kind of soundtrack is really fun to listen to while playing the game itself. I'd prefer if some games kept a standard soundtrack.

15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a stand-alone listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game?

Huh. Can't think of any right now. It would probably be from a survival horror game, as they tend to have music to creep you out that really isn't fun to listen to outside of the game.

16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place?

A lot of games use orchastras with Ominous Latin Chanting. Not that that's a bad thing, though. And do they really need to sound different? If the music works, stick with it.

17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa?

I like Japanese VGM, but they take it more seriously than the West.

18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter?

Enlighten people on the subject, I suppose. That, and speak out. Tell Japan that we want those goddamn albums!

19. If you had to sum up in three words what you expect from VGM, which would you choose?

Pants are jizzed.

edited 7th Jan '11 10:13:25 AM by Deathonabun

1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?

VGM is music created for videogames.

2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it?

Simply enough, I just find that I like videogame music more than 99% of mainstream music. The repetition, feelings, and memories it brings is what makes it special.

3. Do you listen to music from games you haven't played?

Yes.

4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so?

About 90-95% of the music I listen to is VGM. The remainder is made up mainly film, TV, and anime soundtracks, as well as national anthems and the old music I got from Fallout 3 and Fallout New Vegas.

5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced?

I get my videogame music from You Tube by adding it to my favorites.

6. Which genres/styles do you mainly listen to? Which do you avoid?

I don't have particulars.

8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming?

I've heard the childish sentiment before. It serves as a personal Berserk Button of mine, since I do find videogame music as valid as any other form of music. Since everyone I know knows I listen to videogame music I don't mind mentioning my musical inclinations. Explaining why I like it is sort of a pain however.

9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material?

They're different, but not inherently inferior or superior to one another.

10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays?

I still think videogame music is unique, even with the addition of modern instruments.

11. Most gamers don't particularly care about game music (or at least, to the extent many of us do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this?

While there are series like Fallout that use licensed music fairly well, for the most part I prefer to listen to OSTs.

12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is still a creative process. Do you see a problem in this?

Not really.

13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how?

I don't really have a problem with it, as long as quality doesn't suffer.

14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to say this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptive music system, playing an ambient (see "usually unmelodious") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this?

I don't mind ambient music, but I don't like it when it's so ambient I can't notice it at all.

15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a stand-alone listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game?

Nope.

16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place?

I wouldn't agree with that sentiment. While there are certain touches composers can make that identify their songs as theirs, music from Kingdom Hearts doesn't sound the same as music from Okami.

17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa?

Japanese VGM tends to be more noticeable and repetitive, whereas Western VGM tends to be more ambient and more akin to film soundtracks. Personally, I feel like Western videogame music could be a bit more repetitive. Halo music for example tends to throw me off due to its lack of repetitiousness.

18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter?

I certainly wish that the videogame companies would start working with I Tunes. I'm tired of feeling like a thief.

19. If you had to sum up in three words what you expect from VGM, which would you choose?

Memorable, Enjoyable, Atmospheric.

edited 7th Jan '11 10:44:51 AM by rmctagg09

1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?

"Yes its from a video game, but its still music. It deserves to be listened to."

2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it?

Because I get exposed to good music through video games more often than not. And VGM is so varied that I can't really say there are any particular elements that I like from it.

3. Do you listen to music from games you haven't played?

Yes, sometimes I get drawn to a game because I happened to have found one of its tracks online.

4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so?

A huge percentage in favor of VGM, though I do listen to a bit of Metal and Electronic music on the side.

5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced?

I really don't have an opinion on this, I don't buy or download music at all. I just use streaming sites like Youtube for music.

6. Which genres/styles do you mainly listen to? Which do you avoid?

Heavy metal, electronic, and techno mainly. With some Jazz and Classical here and there.

7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why?

Yes, sometimes.

8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming?

If it sounds good, its music as far as I'm concerned. It doesn't matter where it come from. That said I am very reluctant to say that the majority of the music I listen to comes from games, to other gamers or otherwise.

9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material?

Far superior, in my opinion. Chiptunes can be nice, but it's very limited.

10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays?

Not really.

11. Most gamers don't particularly care about game music (or at least, to the extent many of us do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this?

I don't like it, most mainstream songs would feel very out of place in a video game. Honestly, the whole thing sounds like an excuse for not making scores.

12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is still a creative process. Do you see a problem in this?

If they're not actually putting in normal songs, and the finished product is enjoyable and appropriate then I have no problem.

13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how?

Again as long as its good, I don't really mind.

14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to say this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptive music system, playing an ambient (see "usually unmelodious") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this?

I'm not really a fan of ambient music. Good VGM should be instantly noticeable and should stand on its own.

15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a stand-alone listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game?

See above. If I don't like it by itself, I probably won't like it in-game.

16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place?

There's a little too much low key, orchestral-sounding tracks used as background music but that's it.

17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa?

Japanese VGM has a lot of J-pop and J-rock influence, Western games tend to use the aforementioned orchestral tracks. I don't really think either is inferior or superior inherently.

18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter?

Make VGM stand out more is a start.

19. If you had to sum up in three words what you expect from VGM, which would you choose?

Enjoyable, appropriate, awesome.

1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?

I would probably stammer and babble for a bit about something that vaguely resembled the subject because I am terrible at these things. I'd likely then go off on some tangent about the sound of chiptunes...

2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it?

Most of the game music I listen to are chiptunes. While there is a chiptune genre not directly related to video game music I am most familiar with the abundant sources of the stuff that video games have. The sound tracks that aren't composed of chiptunes are typically games on the N64 or PSX. There is something very pleasant about the soundboards of the older systems (anything from the NES era to the N64 era, also including the various handheld systems up until the recent generation) I think. The other more modern game music I listen to I listen to mostly because I am most familiar with it and find it much more accessible and relevant to my interests than music that does not come from a game because well...I play a lot of games you know...

3. Do you listen to music from games you haven't played?

Yes and quite often. There are certain games and series whose music I avoid out of tradition. Like Dragon Quest. I don't listen to tracks from the entries I haven't played unless it is the Overture which I am always too excited for to wait for...

4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so?

Playlist wise as in what I actually own and have created playlists for the non-game music wins out by far due to the fact that I do not own even pirated versions of most of the game music I own instead opting to just listen to youtube playlists. As for what sort of music I listen to outside of game music...well that is a question...It's varied. Quite a bit...So...anything really.

5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced?

I do not particularly care if music does not have an official album at the moment because I am typically satisfied with just youtube uploads. I have never bought an official album by itself. The only one I own is the Lunar 2 ost that came with the set. The only soundtracks I currently have downloaded are the Billy Hatcher And The Giant Egg soundtrack because it makes extensive use of Fading into the Next Song, the first three Sonic soundtracks for some reason, and the TWEWY soundtrack because I wanted it on my iPod. I do not know how the soundtracks are priced.

6. Which genres/styles do you mainly listen to? Which do you avoid?

I mostly listen to chiptunes as stated earlier. I am fond of music outside of chiptunes though... What genre would most Mario music be considered? I listen to that a lot... I like soundtracks that are very techno like. Like the F-Zero GX soundtrack so I tend to listen to similar things often. I tend to avoid remixes and symphonic versions due to my coming across a large number of ones I dislike greatly. I also avoid the soundtracks of most Western video games. Anything similar to I am the Wind from Sot N is avoided with great passion.

7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why?

I have listened to the genres that I like in game music outside of game music though often not as extensively. I know next to nothing about chiptunes outside of games for example. As for why I do not listen to it more...I find it harder to research and get into because it is typically largely new and unfamiliar territory for me.

8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming?

Yes I feel that it is a valid as any other form of music though many do have a point about some of the earlier game music. The first Dragon Quest had an atrocious soundtrack filled with extremely short and hideously repetitive loops. There is quite a bit of older game music that does deserve respect though. The First Final Fantasy and Mother had amazing soundtracks that can still hold up today though the tracks would be rather short if not remixed and added onto. I typically do not mention video game music to others who do not play video games because I see little reason to discuss it with them. Unless I really like them. Then I will.

9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material?

I tend to greatly prefer it largely because I love chiptunes and the old soundboards. I will admit that most game music in more recent years has been more complex, but few things, to me, can match the awesome of chiptunes.

10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays?

I do not believe that VGM should always strive to sound completely different. TWEWY had an interesting soundtrack that felt much more like popular music from various different genres and it was quite lovely. That soundtrack also worked with that setting. Setting is important in regards to music and how it meshes with what is on screen is an important part of the experience. There are games that still to this day manage to sound different from non-game music. I am unsure how exactly this is managed though. Something about the composition.

11. Most gamers don't particularly care about game music (or at least, to the extent many of us do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this?

I do not particularly care for the usage of licensed material unless it is handled carefully. I would prefer that most soundtracks are composed of original material.

12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is still a creative process. Do you see a problem in this?

This I am much more fond of and do support! Though as I mentioned two questions earlier or so I think that it should be appropriate for the setting. TWEWY's soundtrack worked mostly because of the setting and how it meshed with what we saw onscreen.

13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how?

I don't care much for the cinematic trend. While I do like the orchestral music quite a lot of the time it just doesn't feel right to me to be mimicking Hollywood the way it is. This is part of why I dislike modern Western games. It just feels too much like a summer action flick and I don't care for that. I don't mind the more anime like games from the East though. I enjoy them much more.

14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to say this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptive music system, playing an ambient (see "usually unmelodious") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this?

I don't mind this too much really. It does make for a soundtrack I won't listen to though. While it is fun while playing the game I don't care for it too much outside of the game. This along with the cinematic like music gets tossed in my "don't listen to" pile.

15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a stand-alone listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game?

The soundtracks of damn near every FPS I have ever played works ok in the game but is amazingly uninteresting outside of it... Halo in particular comes to mind because I played it with my brother quite a bit.

16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place?

There will always be sameness and I see no way to really prevent it. Overall it doesn't bother me too much.

17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa?

Yes. American games as of late seem to be more cinematic orchestral hooey hah or more ambient from what I have experienced. This means that I find them to be largely boring and unappealing away from the game. Japan on the other hands has stupid anime like theme songs and shit from Mario and Megaman...and the genres of game I like...

18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter?

I have absolutely no idea and don't find myself too concerned. It just means I won't be buying soundtracks in stores and that I will likely continue avoiding Western game music. This doesn't bug me too much.

19. If you had to sum up in three words what you expect from VGM, which would you choose?

Awesome chiptune stuff.

1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?

It's music that accompanies video games.

2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it?

Why not? The stuff I listen to is melodic, rocking, and drawn from an interesting mix of influences, such as the jazzy/rocky style of Soyo Oka in Super Mario Kart and Pilotwings, a mishmash I quite like. Also it's the stuff I grew up listening to, so there's an element of familiarity, even if only stylistic for the games I didn't play as a kid.

3. Do you listen to music from games you haven't played?

Yes. My two favorite soundtracks are Final Fantasy IV, which I've only just begun, and Albert Odyssey: Legend of Eldean, which I've never played.

4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so?

Before I restarted my playcount on my computer, there were about eight video game songs in my most-played 25. I haven't listened to it as much lately, more because of a rash of new "mainstream" music I bought than shifting tastes. I listen to lots of older rock and pop music. About a quarter of my top-listened-to songs are from the Eurovision Song Contest, largely from the seventies and eighties. Lately I've listened to lots of Queen, The Beatles, and the Les Miserables soundtrack.

6. Which genres/styles do you mainly listen to? Which do you avoid?

7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why?

I like melodic, harmonic, and rocky stuff. I avoid ambient stuff with some exceptions.

8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming?

Yes and yes.

9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material?

I don't listen much to (or play much!) modern material, so I have no opinion. I like the recent Koji Kondo stuff I've heard in the latest Mario games.

10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays?

Play with the old chips? I don't know, I don't see any pressing need to make VGM sound different. Musicians of any kind can play with the sounds of the games of the eighties and nineties and I don't see the value in branding only VGM so.

11. Most gamers don't particularly care about game music (or at least, to the extent many of us do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this?

I wonder if this hurts aspiring composers. Don't really have a strong opinion though; those aren't my games.

12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is still a creative process. Do you see a problem in this?

Only insofar that it stifles creativity. Don't ask Koji Kondo to write pop, but if you've got somebody working in their element with mainstream sounds, go ahead.

13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how?

Orchestral cinematic music's overused in both Hollywood and video games. Not every soundtrack needs to be John Williams lite. Game and film music should sound different as a matter of form—you can't have music drown out movie dialogue, whereas game music can be louder. VGM has to stretch to fill different time limits and the player's actions. It's not a big deal though.

14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to say this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptive music system, playing an ambient (see "usually unmelodious") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this?

I'm not distracted. Bring back the melodies, dammit.

15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a stand-alone listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game?

Hard to say. Take Chrono Trigger, which is great top to bottom, though the music-box Marle theme is not the strongest track. It has, however, more emotional torque than most of the other music in the game, even though I may like, say, Black Omen better as a song to listen to. Of course, once I've played the game I associate the music with the parts in the game where it appears, so there is a certain extent to which it doesn't matter.

16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place?

It's hard to compose different stuff.

17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa?

I notice differences, but it's hard to say if it's cultural or if I just have a small sample size for American (uh, the Follin brothers?) and European (the Rare team) composers.

19. If you had to sum up in three words what you expect from VGM, which would you choose?

Video game music.

edited 7th Jan '11 11:45:58 AM by Longfellow

I guess that this is as good a time as any to make my thoughts known.

1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?

Pretty simple answer. VGM is music that's created specifically for a video game. I don't count licensed soundtracks as such.

2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it?

I'd guess that it's because I play video games a lot, and so I tend to notice a lot of the music, consciously or unconsciously. What I love about it is the sheer variety. I mean, it can be done in literally any style! Even within a single soundtrack, you can find that the music changes styles at the drop of a hat, from rock to ska to classical, and that honestly fascinates me.

3. Do you listen to music from games you haven't played?

Of course. At least half of the soundtracks I own are from games that I've never played before. That being said, most of said half are from series that I'm familiar with, such as Final Fantasy or Sonic. So, while I may not have played every game in those series, I'm pretty familiar with the musical styles that they tend to use. If that makes any sort of sense.

4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so?

About 95% of the songs in my collection are VGM. It's a pretty big part of my life at this point. The remaining 5% are from various anime. I generally don't listen to "mainstream" music because I personally find a lot of it to be samey.

5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced?

If it's a game with particularly good music, then I'd usually be pretty disappointed if it didn't get an album release. *looks at almost every Nintendo game from the last decade* I'm... not particularly fond of gamerips, to be perfectly honest. I mean, I appreciate the effort that rippers go through to do so, but I almost always prefer official releases. There's nothing like the real thing, y'know? Speaking of the real thing, I used to buy albums when I first started out with this hobby, but that stopped quickly when I realized that I was gonna go broke doing that. I mean, albums are crazy expensive. Being a niche thing tends to do that. So nowadays, I tend to get my albums through Perfectly Legal Means. I'll only ever buy a release if it's something that I'm really anticipating or if I just have extra cash to burn.

6. Which genres/styles do you mainly listen to? Which do you avoid?

I'll pretty much listen to any genre or style, but I tend to gravitate towards very melodic orchestral songs. Also, pianos and violins. I seriously cannot get enough of those two instruments. Oh, and Ominous Latin Chanting.

7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why?

I usually don't, for some reason. I can't really put my finger on why, either. =d

8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming?

Hell yes, and... maybe, respectively. Depends on who I'm talking to. I still get a bit nervous when telling people about my musical tastes.

9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material?

Both have their merits and good/bad composers. Though, I usually prefer the latter.

10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays?

I still think that it's pretty unique, even with the addition of real instruments. And I think that it should stay that way; it's one of the main reasons I started listening to VGM, after all.

11. Most gamers don't particularly care about game music (or at least, to the extent many of us do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this?

Eh. I mean, it can work if it really fits the game, but I much prefer that games use their own original music. Thankfully, I don't really see this becoming a trend anytime soon.

12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is still a creative process. Do you see a problem in this?

Not really, so long as it fits within the context of the game. As said before, TWEWY managed to mix together the best parts of both popular music and VGM and ended up sounding great because of it. If TWEWY can do it, it's entirely possible for other games to do so as well.

13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how?

I'm not sure if I like this trend, honestly. That being said, if it's good and (once again) fits within the context of the game, there's no real harm in it.

14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to say this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptive music system, playing an ambient (see "usually unmelodious") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this?

Depends. I'm no fan of ambiance, but sometimes the game calls needs it to be in the background, subtly setting the mood, and sometimes it calls for it to be at the forefront, usually during battles or action sequences. Whatever works, I say.

15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a stand-alone listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game?

Most of the Silent Hill games that I've played would definitely go under this category for me. And I don't think that all game music needs to be listenable outside of the game's context.

16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place?

I don't think so. I hear just as many unique soundtracks now as I did back in the chiptune days.

17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa?

I find that Japan tends to use a lot of synth (of varying qualities) and composers pretty much do their own thing when it comes to music, which I find pretty cool. Western composers, from what I've heard anyway, tend to err more on the side of having orchestral film-like scores. I haven't heard much of European composers, so I can't make a judgment on them.

18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter?

RELEASE YOUR GODDAMN ALBUMS, GODDAMMIT. *ahem* Seriously, even free digital downloads would be a step in the right direction. I mean, I'm not expecting them to be Square Enix and make 5 different soundtracks for every game, but still.

19. If you had to sum up in three words what you expect from VGM, which would you choose?

Melodic, unique, awesome.

edited 7th Jan '11 12:07:06 PM by Electivirus

1. If you had to describe what VGM is to someone ignorant on the subject, what would you say?

Videogame music is music (intentionally) written to accompany parts of videogaming experience.

Stylistically, early videogame music consisted of simple melodies, and soon evolved into a style that was most influenced by jazz, rock-and-roll, and classical music. However, going into the 1990s and beyond, as sound systems' technical capabilities increased, stylistic variation broadened, and it is not uncommon to hear today a videogame soundtrack that is on par with movie soundtracks in depth and quality.

Instrumentally, it began as "beeps and boops", but as technical specs improved, so did the ability to emulate real instruments more faithfully and to store recorded music, gradually paving the way to more "realistic" sounds and thus to a greater range of styles. Nowadays, full orchestras can be heard in videogames, though the simplistic charm of simple waveforms such as the square wave are still appreciated by some.

2. Why do you listen to game music on a stand-alone basis? What elements do you like or dislike from it?

For various reasons, including:

• to relive a particularly dramatic or otherwise emotional moment in a videogame
• to act as background music for whatever I'm doing
• just to listen to something
• to study its musical properties, independent of its original context

3. Do you listen to music from games you haven't played?

Yes, to some extent. Usually, this occurs for games in series that I've played some entries in, but not that entry in particular. Occasionally, I'll listen to a soundtrack that someone else has highly recommended.

4. What percentage does VGM represent on your playlist vs. non-game music? If applicable, what kind of music do you listen to outside of VGM? If you don't listen to mainstream music (i.e. not VGM, film, or anime soundtracks), why is that so?

I don't have playlists. I queue up tracks individually, on demand.

That said, I kinda go through music semi-randomly. Having a classical background, I listen to some classical, and I generally listen to whatever is on my mind. Keep in mind that I almost constantly have music playing in my head. It is usually similar to what I've lately been listening to. Right now, it's a Beethoven sonata. I also listen to soundtracks of some non-videogame visual media, though not as much as videogame music.

Videogame music features largely on the music I frequently play on my computer partly because it's most easily accessible. Generally speaking, posting music recordings on the internet, in streaming or download form, is frowned upon for copyright reasons, but videogame music tends to fly under that radar.

5. How do you feel about music that was not published as an official album? How much of a problem is it to you if you want to listen to it? Also, do you actually buy official albums or strictly download them illegally (or a mix of both)? Do you think these albums are adequately priced?

I rename official album names to the game they're from anyway. And I generally listen to in-game versions anyway, rather than remixes. Partly because they usually loop, giving me a better track for establishing atmosphere.

Yes, I frequently use emulator music formats. Mainly because (1) they can loop, and (2) their filesize is much smaller.

6. Which genres/styles do you mainly listen to? Which do you avoid?

Pretty much anything that comes to mind, though my preferences tend slightly toward epic/orchestral and action/percussion tracks. Though lately I've kinda enjoyed some more ambient tracks, and sometimes simple tracks are very appealing.

7. If one of these genres also exists in non-game music, do you also listen to it from that category? If not, why?

My favorite styles of non-videogame music include classical, light pop, and techno/dance.

8. Video gaming had a reputation for a long time of being a childish or geeky hobby, and a part of it persists today. Inevitably, to a certain extent, the music also fell under this denigrative categorization (especially retro chiptunes). Do you think VGM is as valid as any other music from a listener's point of view? Additionally, are you fully comfortable about mentioning you listen to VGM when you discuss with someone who isn't into gaming?

I think that videogame music is as much music as anything by John Williams, Johann Sebastian Bach, Miles Davis, or Weezer. In fact, it's not even necessarily of a different style—"videogame" is a medium of presentation, not a style, and videogame music often imitates different styles—such as the Baroque-sounding "Wood-Carving Partita" from Castlevania Symphony Of The Night, the ragtime "Spinach Rag" from FFVI, and the jazzy "Cait Sith's Theme" from FFVII.

9. How would you compare game music from the past (aka chiptunes, up to the SNES era) and modern material?

Electivirus: Both have their merits and good/bad composers. Though, I usually prefer the latter.

Both have their merits, true. But I either slightly prefer the former or have no preference—since I am fond of comparing the harmonic, rhythmic, and melodic qualities of the music apart from its instrumentation, and I am also fond of the simplicity of earlier videogame music.

That said, I wouldn't call SNES music "chiptunes". The four "basic" waveforms appear rarely in SNES games. (Genesis was a lot more "chippy" than SNES, FWIW.)

10. During its infancy, VGM was unique in part because of its electronic sound coming from limited sound chips. Today, any kind of instruments can be used and thus this uniqueness doesn't always persist. Do you believe VGM should sound different from other music categories? If so, how could this be achieved nowadays?

I don't care if it sounds different, since I don't see it as a different genre anyway.

That said, I believe that things like the square wave are legitimate instrument sounds to write music for.

11. Most gamers don't particularly care about game music (or at least, to the extent many of us do). Thus, it's most probably not part of their playlists. Some producers believe that players would prefer to hear their favorite mainstream songs while playing rather than original music, hence the use of licensed material. What is your opinion about this?

I don't care as long as it works in context.

I frequently think up my own videogame design ideas to go along with existing music anyway.

12. Other producers, which aren't as radical, may still hire a composer, yet ask him/her to create something that sounds extremely close to popular music. This does not make highly unique VGM, yet it can still be very enjoyable and is still a creative process. Do you see a problem in this?

Again, I don't care as long as it works in context.

13. A popular trend these days (notably in the West) is to make games that are very cinematic in nature, mimicking Hollywood down to the use of (usually) orchestral cinematic music. How do you feel about this? Since these two media are converging when it comes to telling a story on screen, should games (and their music) be any different from films? If so, how?

Cinematics are kinda a cool novelty idea, but at the end of the day I want to enjoy what I'm playing, somehow or another way. That said, I don't mind the music, as long as it works with the gameplay experience. What determines that is YMMV, obviously.

14. Certain producers and composers believe that the perfect music should not be noticeable unless it's not there. Another way to say this would be to say that the music shouldn't be in the forefront to avoid distracting the player. In practice, this often results in the use of an adaptive music system, playing an ambient (see "usually unmelodious") track when nothing special is going on and then loading a more dynamic cue when action kicks in. When listened to on a stand alone basis, these soundtracks often make an inconsistent experience (unless for huge ambient fans). What do you think about this?

I'm not a big fan of this; I prefer my music be somehow memorable yet mesh well with the setting. This is a somewhat noticeable difference that people have found between Japanese and western games, actually; I prefer the former's style of having more prominent music—especially if I have the choice between more prominent and prominent tunes and less prominent and interesting ambience.

15. VGM is inevitably linked to the games it comes from. In fact, it's created to suit them in the first place! Is there any soundtrack which you regard very lowly from a stand-alone listener point of view, but that you found worked well in-game? If possible, how could it have been more enjoyable to listen to while still working as well in-game?

Lemme check my stuff...brb.

Hmm, I can't think of any game in particular.

However, I will note that tracks tend to sound nicer in-game, for whatever reason. This is why I think it's a good idea to wait a while after finishing a game before deciding whether the game has one of the best soundtracks ever, if right after finishing it I think it does.

16. Do you think there is too much music sounding the same? If so, could this be because there are too many similar games? If the games weren't to change, how could the music become different without sounding out of place?

Not really, but then again, I don't listen to a large volume of music anyway; I tend to just listen intensely to those things I'm interested in.

17. Do you notice any difference between VGM created in Japan, America and Europe? If so, what does one do better or worse than the others, and vice versa?

Electivirus: I find that Japan tends to use a lot of synth (of varying qualities) and composers pretty much do their own thing when it comes to music, which I find pretty cool. Western composers, from what I've heard anyway, tend to err more on the side of having orchestral film-like scores.

What Electivirus says is what I've heard, generally, and observed in the few instances where I've played "traditionally western-style" games (such as Elder Scrolls 1 and Deus Ex). Other than this, my gaming experience is mostly in games developed in the "eastern tradition" (which includes such western games as Juka And The Monophonic Menace).

18. VGM is a lot more popular in Japan than it is in the West, with album releases being a good indicator. How could things get better in the West on that matter?

Besides what Electi said about releasing the albums themselves, which is something that game companies are already starting to do (through services like iTunes), I think western developers—and moviemakers and TV show directors—could make games with more prominent music, as opposed to the slow/ambient style that's commonly in use today.

19. If you had to sum up in three words what you expect from VGM, which would you choose?

Soundtrack of experiences.